Hot Off The Press: The Latest TV News and Information - Page 3338 - AVS | Home Theater Discussions And Reviews
Forum Jump: 
 1089Likes
Reply
Thread Tools
post #100111 of 100136 Old Yesterday, 09:44 PM
AVS Special Member
 
Chere's Avatar
 
Join Date: Jan 2009
Posts: 1,236
Mentioned: 1 Post(s)
Tagged: 0 Thread(s)
Quoted: 299 Post(s)
Liked: 157
Quote:
Originally Posted by Keenan View Post
Indeed, I think it's Adweek that posts a collection of commercials from around the world on a regular basis, and you're 100% right, foreign ads are often far more engaging and intelligent than anything you'll see on American TV. In America we're afraid of ourselves and it shows in the stultifyingly moronic ads we're subjected to.
Not only that but my quibble nowadays is that they're just not funny even when they're obviously trying to be. Funny commercials used to be my forte but not anymore at least for the ones here State side.
Chere is offline  
Sponsored Links
Advertisement
 
post #100112 of 100136 Old Yesterday, 10:16 PM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
TV Notes
'Odd Couple' through the years
By Patrick Ryan, USA Today - Feb. 25, 2015

Viewers are just getting acclimated with Oscar (Matthew Perry) and Felix's (Thomas Lennon) new digs on CBS' The Odd Couple, but playwright Neil Simon's mismatched roommates have been butting heads for half a century now. USA TODAY looks at their other homes through the years:

Broadway plays (1965-67; 1985-86; 2005-06)

Directed by Mike Nichols, the original production of Simon's comedy about neat freak Felix and easygoing slob Oscar opens in New York in March 1965. It stars Art Carney and Walter Matthau, and runs for nearly 1,000 performances before closing in summer 1967. It's subsequently revived on Broadway, starting with the 1985 revival with a female Odd Couple starring Rita Moreno and Sally Struthers, which shutters within a year; and a 2005 version with Nathan Lane and Matthew Broderick, hot off their The Producers Broadway pairing, which proves to be a box-office smash.

Film version (1968)

Simon pens the screenplay for this Gene Saks-directed feature film, which stars Jack Lemmon as Felix and Walter Matthau, reprising his Broadway role as Oscar. The film is nominated for two Academy Awards: best adapted screenplay and editing. Lemmon and Matthau reunite for the 1998 film sequel The Odd Couple II, which finds the unlikely friends on a road trip to their son and daughter's wedding.

ABC comedies (1970-75; 1975-77)

Tony Randall and Jack Klugman play the dissimilar chums for five seasons on the beloved ABC comedy remake, which features Al Molinaro (Happy Days) and Penny Marshall (Laverne and Shirley) in recurring roles. In 1975, a Saturday-morning cartoon called The Oddball Couple — an homage to the Odd Couple, about a cat and a dog living together — starts on ABC, where it runs for two years.

ABC remake (1982-83)

The comedy gets an African-American remake in this short-lived outing, which runs for 18 episodes on ABC. It stars Ron Glass (Barney Miller) and Demond Wilson (Sanford and Son), and becomes the network's second unsuccessful attempt at adapting a Simon play with black actors, after the one-season Barefoot in the Park in 1970.

CBS sitcom (2015)

The Odd Couple gets a modern update in this newest version, which stars Friends' Matthew Perry as Oscar and Thomas Lennon (Reno 911!) as Felix. Despite lackluster reviews, the comedy was sampled by 13.6 million viewers in last week's premiere, wedged between ratings juggernauts The Big Bang Theory and the Two and a Half Men finale.

http://www.usatoday.com/story/life/t...dway/23980183/
dad1153 is offline  
post #100113 of 100136 Old Yesterday, 10:23 PM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
TV Notes
Pilot Trend: Networks Borrow From Beyond Our Borders
By L.A. Ross, TheWrap.com - Feb. 25, 2015

If there’s one surefire way to know your fall programming slate is going to be a hit, fill it with shows that have proven their success overseas, right?

Not exactly.

Despite a record over the last 10 years that can best be described as mixed, the broadcast networks are loading up their fall 2015 slates with adaptations of foreign series, one of the biggest trends to emerge this pilot season.

There are seven adaptations in the mix this year, representing all five of the broadcast nets. NBC is trying its hand with two comedies: “Cuckoo” (U.K.) and “Strange Calls” (Australia), a comedy about a small town with supernatural secrets that was based on a short film and ran six episodes in a limited-series type format.

ABC’s two offerings include comedy “Irreversible,” based on Israel’s “Bilti Hafich,” and “Runner,” based on the Turkish series “Son.” Like “Strange Calls,” that well received psychological thriller was brief – a single season of 25 episodes – but ABC plans to structure it as a regular drama series.

The CW — which hit the bullseye with its adaptation of Venezuelan series “Jane the Virgin” last season — just announced a new project from “Vampire Diaries” EP Julie Plec called “Cordon,” based on a Belgian series about a city under virus quarantine. CBS has “Taxi-22″ with John Leguizamo, based on the hit French Canadian series “Taxi 0-22″ on order. And Fox is taking a swing at the award-winning BBC series “Luther,” with a huge asset in star Idris Elba attached as a producer.

But including elements of the original series hasn’t always ensured their translation to the American screen. Fox’s “Gracepoint” and its BBC inspiration “Broadchurch” both starred David Tennant, but the U.S. version fell flat. Fox played coy about whether the series was always intended to be limited, but after 10 episodes, the network confirmed the series would not be renewed.

By the same token, NBC’s “The Slap” is based on the Australian miniseries of the same name. It includes stars from the original, yet the limited series debuted low and has dropped since.
NBC’s “Prime Suspect,” CBS’s “Worst Week,” ABC’s 2014 pilot “An American Education” – even Fox’s “X Factor” crashed and burned where their predecessors soared.

Of course, cable and streaming networks have seen tremendous success with adaptations over the last decade, perhaps due in part to the creative opportunities these formats allow compared to broadcast. HBO’s “Veep,” (“In the Thick of It,” U.K.), Netflix’s “House of Cards” (BBC’s miniseries of the same name), and Showtime’s “Homeland” (“Hatufim,” Israel) set a high water mark in both prestige and popularity that tantalizes broadcast networks every pilot season.

The networks may be able to find their next “The Office” with this crop of foreign series adaptations, but it may well be an uphill battle.

Here are the foreign series adaptations ordered to pilot by the broadcast networks this season:

ABC

IRREVERSIBLE (Reshet TV, Sony Pictures Television, Fedora Entertainment)
Writer: Segahl Avin
Producers: Segahl Avin, Peter Tolan, Michael Wimer
Director: Segahl Avin
Logline: Based on the Israeli series “Bilti Hafich,” the comedy follows Sarah and Andy, an eccentric couple, and their trials and tribulations which they mostly bring on themselves. The comedy is No. 1 in Israeli broadcast TV.
Cast: Justin Long

RUNNER (20th Century Fox Television)
Writer: Michael Cooney
Producers: Michael Cooney, Ian Sander and Kim Moses with Jon Cowan attached to Executive Produce and Showrun the series.
Director: Michael Offer
Logline: Lauren Marks believes she is leading a perfect life. It’s ripped apart by one simple twist of fate; to uncover the truth she must follow a trail of lies that take her into the world of cartels and the illegal gun trade between the US and Mexico. Based on the Turkish series “Son.”
Cast: Paula Patton

CBS

TAXI-22 (CBS Television Studios)
Writer: Tad Quill
Producers: Tad Quill, Francois Flamand, Nancy Sanders, Mark Armstrong, Dennis Erdman, Clark Peterson, Patrick Huard, James Gandolfini, John Leguizamo, Jeff Golenberg, Sam Maydew
Logline: Follows a New York City cab driver, based on the hit French-Canadian series “Taxi 0-22.”
Cast: John Leguizamo

The CW

CORDON (My So-Called Company, Eyeworks, Warner Bros. Television)
Writer: Julie Plec
Producer: Julie Plec, David Nutter
Director: David Nutter
Logline: Based on the Belgian series, when a deadly epidemic breaks out in Atlanta, a large city quarantine is quickly enforced, leaving those stuck on the inside to fight for their lives. “Cordon” tells the story of loved ones tragically torn apart, and how the society that grows inside the cordon reveals both the devolution of humanity and the birth of unlikely heroes.
Cast: “Major Alex ‘Lex Carnahan” – David Gyasi; “Jana” – Christina Moses; “Katie Frank” – Kristen Gutoskie; “Jake” – Chris Wood

FOX

LUTHER (20th Century Fox, BBC Worldwide Production, Chernin Entertainment)
Writer: Neil Cross
Producer: Neil Cross, Peter Chernin, Katherine Pope, Jane Tranter, Julie Gardner, Idris Elba
Logline: Based on the award-winning BBC series. Centers on John Luther, a near-genius murder detective whose brilliant mind can’t always save him from the dangerous violence of his passions.

NBC

CUCKOO (Lionsgate Television, Roughtcut TV)
Writer: Tim Lon, Robin French, Kieron Quirke
Producer: Tim Long, Robin French, Keiron Quirke, Ash Atalla
Logline: Based on the British series, a daughter comes back from a summer abroad married to a charming but infuriating eccentric named Cuckoo, much to her father’s annoyance.

STRANGE CALLS (20th Century Fox Television, Kapital Entertainment, Hoodlum)
Writer: Blake McCormick
Producer: Blake McCormick, Aaron Kaplan, Tracey Robertson
Director: Jason Winer
Logline: A single-camera comedy, Based on the Australian series, an affable but down on his luck young police officer is transferred to a rural town where — with the help of a peculiar elderly night watchman — he starts to realize the town has a bizarre supernatural underbelly.
Cast: Patrick Brammall – “LLOYD”

http://www.thewrap.com/pilot-trend-n...d-our-borders/
dad1153 is offline  
post #100114 of 100136 Old Yesterday, 10:29 PM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
Business Notes
With Ratings in Flux, Nickelodeon Puts Upfront Focus on Shows
By Brian Steinberg, Variety.com - Feb. 25, 2015

Kid-focused Nickelodeon expects to air more than 600 episodes of new and returning series in the TV season to come, part of an effort to win advertisers over with a surfeit of the original programming its executives said the network’s young audience craves.

“We’re making more and we are making it faster,” said Cyma Zarghami, president of the Viscom Kids and Family Group, the Viacom unit that houses Nick and a suite of other youth-skewing outlets.

On the docket for the season ahead: Three new series meant to run five days a week for several weeks at a time; a live-action series based on the movie “School of Rock”; and a new series from producers Sid and Marty Kroft. Nickelodeon also articulated developing plans to put popular character SpongeBob SquarePants in a Broadway musical and to extend its Teenage Mutant Ninja Turtles franchise.

Nickelodeon’s reveal of its future plans represents its step forward into the ad-sales market known as the “kids’ upfront,” an annual sales process in which Viacom, Time Warner and Walt Disney, among others, vie for what is estimated to be $800 million in advance advertising commitments.

The event takes place as ratings at many kids’ outlets are under scrutiny. Kids’ programming is one of the more popular offerings on streaming-video outlets like Amazon and Netflix. Younger viewers also have demonstrated an ease with accessing programs on mobile devices, behavior not always tabulated in current TV-ratings measurement.

Nickelodeon’s answer to the challenge: content, content and more content. New series include “Talia’s Kitchen,” which follows a 14-year-old in Miami who spends time with her grandmother in a family-owned restaurant; “Make It Pop,” a daily series about three girls who form their own K-Pop band; “Mutt & Stuff,” from famed Saturday-morning TV impresarios Sid and Marty Kroft; and “The W.I.T.s Academy,” a daily series about witches and wizards in training.

Nickelodeon said it would also create content for advertisers, not just its young viewers. A group known as “Nickelodeon Inside Out Solutions,” which will work to craft pieces of content and marketing for Nickelodeon properties across different types of media.

http://variety.com/2015/tv/news/with...ws-1201441868/
dad1153 is offline  
post #100115 of 100136 Old Yesterday, 10:35 PM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
TV Notes
Ken Biller Inks Deal With Fox 21 Studios, Joins TNT’s ‘Legends’ As New Showrunner
By Nellie Andreeva, Deadline.com - Feb. 25, 2015

Perception co-creator/showrunner Ken Biller has signed an overall deal with Fox21 Television Studios. Under the pact, he is returning to TNT as the new showrunner on Fox21 TV Studios’ TNT drama Legends executive produced by Howard Gordon. He’ll also develop new projects.

Biller is taking the reins of Legends as part of a creative revamp or “reimagining,” as he put it, of the action series starring Sean Bean heading into its second season. The series, developed by Gordon, Jeffrey Nachmanoff and Mark Bomback based on the book by Robert Littell, was ran by David Wilcox in Season 1.

“Ken is the whole package; a super strong writer and one of the best showrunners in TV,” Fox 21 TV Studios president Bert Salke said. “Legends is a huge priority to this company and he is going to be enormously helpful to us as we reshape that series. But our overall with him is also about his development which we value enormously.”

CAA-repped Biller has written, produced, and/or directed over 300 hours of television. He served as executive producer and head writer for cult action-fantasy syndicated series Legend Of The Seeker, which he developed for television, as well as for NBC’s E-Ring, ABC’s Six Degrees and UPN’s Star Trek: Voyage. He also worked as co-exec producer on North Shore, Smallville and Dark Angel.

http://deadline.com/2015/02/ken-bill...er-1201381456/
dad1153 is offline  
post #100116 of 100136 Old Yesterday, 10:39 PM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
TV Notes
America's Next Top Model Alum Mirjana Puhar Dead in Apparent Triple Homicide
By Amanda Michelle Steiner, People.com - Feb. 25, 2015

Former America's Next Top Model contestant Mirjana Puhar was found dead in a Charlotte, North Carolina, apartment on Tuesday. She was 19.

Puhar was one of three victims, including her boyfriend, Jonathan Alvarado, 23, and Jusmar Gonzaga-Garcia, 21. Gonzaga-Garcia was Alvarado's best friend and roommate, according to TMZ.

A source tells TMZ that a friend of Puhar and her boyfriend heard the gunshots and called the police after entering the home and finding the bodies.

According to papers obtained by PEOPLE, police have arrested Emmanuel Jesus Rangel, 19, and charged him with three counts of first degree murder, the Charlotte-Mecklenburg police department said in a statement. The families have been notified of the deaths. Rangel has also been charged in connection with a murder that took place in Matthews, North Carolina, on Sunday, police said.

Puhar starred in cycle 21 of the Tyra Banks-led reality competition, which featured both male and female contestants. She was eliminated in the 10th episode of the season, which aired its finale on Dec. 5.

Banks and fellow Top Model executive producer Ken Mok issued this statement: "We are deeply saddened to learn of the tragic news about Mirjana Puhar. She was a vivacious and promising young woman. Our hearts and prayers go out to her loved ones."

The winner of cycle 21, Keith Carlos, took to Twitter to express his love and condolences.

Mr. ANTM ✔ @Keith_C arlos
Follow
💔🙏 I Love You @mir janapuhar #RIP #ANTMCycle21
11:33 AM - 25 Feb 2015


Other contestants from her season have also Tweeted and Instagrammed their condolences. [CLICK LINK BELOW]

http://www.people.com/article/americ...riple-homicide
dad1153 is offline  
post #100117 of 100136 Old Yesterday, 10:56 PM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
TV Notes
On The Air Tonight
THURSDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

ABC:
8PM - Grey's Anatomy
9PM - How to Get Away with Murder (Season Finale, 120 min.)
* * * *
11:35AM - Jimmy Kimmel Live! (Viola Davis; Richard Madden; Liv Warfield performs)
12:37AM - Nightline

CBS:
8PM - The Big Bang Theory
8:30PM - The Odd Couple (Series Premiere)
9PM - The Big Bang Theory
(R - Nov. 20)
9:30PM - Mom
10PM - Elementary
* * *
11:35PM - Late Show with David Letterman (Ryan Reynolds; comic J.B. Smoove; Dierks Bentley performs)
(R - Feb. 4)
12:37AM - The Late Late Show (Kunal Nayyar guest hosts; Bob Newhart; chef Cat Cora; NBA player Sim Bhullar)

NBC:
8PM - The Slap
9PM - The Blacklist
10PM - Allegiance
* * * *
11:34AM - The Tonight Show Starring Jimmy Fallon (James Spader; Margot Robbie; Tobias Jesso Jr. performs with The Roots)
12:36AM - Late Night with Seth Myers (Will Forte; Ellie Kemper; Sleater-Kinney performs)
1:37AM - Last Call with Carson Daly (Jack McBrayer; Colleen Green performs; TV journalist Bill Weir)

FOX:
8PM - American Idol
9PM - Backstrom

PBS:
(check your local listing for starting time/programming)
8PM - The 'This Old House' Hour (R - Jan. 29)
9PM - Masterpiece Mystery! Grantchester, Episode 6
(R - Feb. 22)
10PM - Antiques Roadshow: Bismarck
(R - Feb. 23)

UNIVISION:
8PM - Mi Corazón Es Tuyo
9PM - Hasta El Fin del Mundo
10PM - Que Te Perdone Dios... Yo No

THE CW:
8PM - The Vampire Diaries
(R - Jan. 22)
9PM - Supernatural
(R - Jan. 20)

TELEMUNDO:
8PM - Los Miserables
9PM - Tierra de Reyes
10PM - Dueños del Paraíso

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Olivia Wilde)
11:31PM - The Nightly Show with Larry Wilmore
12:01AM - At Midnight (T.J. Miller; Kate Micucci; Brandon Johnson)

TBS:
11PM - Conan (Mindy Kaling; journalist A.J. Jacobs; comic D.J. Demers)
(R - Dec. 1)
dad1153 is offline  
post #100118 of 100136 Old Yesterday, 11:01 PM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
Critic's Notes
Your TV Small-Talk Is Ruining Dinner Parties
By Daniel Engber, Vulture.com (New York Magazine) - Feb. 25, 2015

I must not be the only one who dreads that turn around the table at a dinner party when someone fills a minor silence with the go-to question of our time. “Have any of you been watching Walking Dead?” he’ll ask, unless it’s, “Have any of you been watching Downton Abbey?” or, have any of you been watching any other show that people like to like? If you take the bait — and someone always does — the night soon descends into palaver. No more news about your friends, no more funny anecdotes or gossip, no more open, honest sharing of the soul. Once you and your friends have started down the track of TV talk, there’s rarely any change of course, except to shift the target of communal praise from one amazing show to another, even more amazing one. “Yeah, but have you been watching Homeland?” “Yes, oh my God, SO GOOD.”

I hate to state the obvious, but this conversation isn’t good at all. It’s weird and sad and dull. You’d think we’d have a lot to say about TV in this golden age of shows produced to look and feel like movies, with multi-season story arcs, problematic heroes, and sneak-attack engagements with important issues of our time. You’d think all that quality onscreen would lead to vibrant repartee, a matching golden age of dinner-party banter. You’d think that, but you’d be wrong. Even coming off the season that brought us Rustin Cohle and Maura Pfefferman — and now, even in this age of Empire — real-life talk about TV mostly is a bore.

Let me stipulate that many of the shows we talk about are, in fact, amazing. So, too, is the virtuosic corps of TV critics who attest to our amazement. Their work enlightens and informs us, but that only makes the problem worse. Expert TV talk seems effortless, like anyone could do it. It tempts us into being bores. Here’s what happens at the table: A friend posits that a show is great; the rest of us agree. It’s the dinner-party version of a Facebook post, where guests take turns punching at the “like” button. This is not spelunking for a deeper truth, it’s following the path of least resistance, or retreating to a common ground. A linguist might call it phatic speech — blabbing for the sake of social bonding. I call it giving up.

Look, I know this could be my problem, not yours. I’ve heard that certain grad-school types may at times indulge in long debates about the identity politics of True Blood, or the use of Brechtian epic theater in House of Cards. But I’m pretty sure that most tête-à-têtes de TiVo don’t ever reach too far beyond a lame rehashing of the plot. This may have less to do with any one specific social group (I’d like to think that mine is pretty sharp) than with the medium itself.

As a topic for discussion, TV can be unwieldy. It demands a faith and fealty that other art forms don’t. If you really want to know a cable series, if you want to understand all its characters and themes, then you’ll have to make a major time investment — maybe 13 hours for each season, multiplied by four or five or six. This is lethal for TV talk. If someone at the table isn’t up to date — let’s imagine that she hasn’t spent some 80 hours of her life prepping for the conversation — then the rest of us must hold our tongues for fear of giving things away. That’s TV talk in its most annoying incarnation: all coquetry and no content; hour-long discussions where nothing much is said. (For some reason, we treat this tedious ritual as if it were an act of kindness.)

The fact that everyone must be up to date provides another way for TV talk to rid itself of substance. Pretend you watched the first two episodes of Transparent, and found it overcute and politically correct. It would be nice if you could share this view at dinner, if only to inject a minor note of conflict. But, alas, when your friend declares the show is perfect, you don’t have standing to object. Since you haven’t forced yourself to watch a day shift’s worth of episodes, who are you to judge? “Give it another try,” a guest might say. “You really have to get invested in the characters.” (And what if I don’t? It’s a classic TV-talk tautology.) More often you’ll be told the show starts off a little slow, but wait, things pick up mid-season. You’ll have to take that claim on faith, since, well, no spoilers! It’s the grand-jury model of persuasion: no opposing counsel, and all the evidence is sealed.

With every passing season, I’m afraid that TV talk gets more moldy and dispiriting. It was always blah to hear a friend declare his love for Homeland, but at least he was copping to a fact about himself — who he is and what he likes. Now we’re all a little older, more likely to have settled down, and these comments often come from couples: “We tried watching The Good Wife, but we just couldn’t get into it,” one half will say, speaking for a TV-watching team. “Oh, we’re totally obsessed,” another pair will say, hinting at the humdrum nights they share in silence.

I don’t mean to judge: It’s fine if you and your loved one watch TV together, and good for you if you reach a consensus on each and every show. (I understand that Netflix queues can be a source of strife for married couples.) These may be truths about the way we lead our lives, but I have to ask: Must they be so public? I don’t need to know that you’ve given up on forming separate opinions or that you fall asleep to HBO. When you tell me we like this or we like that, I think of primates grooming nits from one another’s hair.

This couple-talk only recapitulates the bigger problem, though. It asserts the we-ness of TV, the first-person plurality of taste within your social group. It builds a wall around the table; it asserts a private demographic. That’s not conversation but its opposite: If we can all agree (and no one really wants to argue), then we shouldn’t need to talk at all. Like the couples that find togetherness in Togetherness, we’re hiding in a fortress of accord.

I wouldn’t like to argue that TV talk has been degraded in the bigger sense — I’m sure it was never very good. But the growing status of TV, and the changing ways in which we watch it, have moved the conversation into a classier venue. Years ago, people didn’t aim so high: In the morning, they discussed at work what they’d watched the night before. A few big networks gave us truly shared experiences, and TV talk served as token speech, like references to football or the weather, traded for a fleeting sense of intimacy.

As the experience of television became more granular and isolating — as we learned to watch on DVDs and DVRs — TV talk ceased to function as an easy way of making conversation. It began to say too much (even as it said so little) about our backgrounds and affiliations. Bring up Downton Abbey with a stranger, and you’ll have marked yourself as clearly as the dude who says he loves Duck Dynasty. So we moved our TV talk into a safer space, at bars or brunch or someone’s birthday party, where there’s much less chance of disconnect.

However small our motives, though, and however dull our discourse, the vaunted quality of modern shows papers over everything. That’s why we have to keep the chatter going, to remind and reassure ourselves that TV is meritorious. Alright, okay, it’s true, the content may be worth our time — but the commentary isn’t. We don’t need this in our lives. If our TV talk were on the DVR, we’d delete it.

http://www.vulture.com/2015/02/your-...r-parties.html
dad1153 is offline  
post #100119 of 100136 Old Today, 06:44 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Feb. 26, 2015

THE BIG BANG THEORY
CBS, 8:00 p.m. ET

In tonight’s episode, Sheldon and Penny (Jim Parsons, Kaley Cuoco) take part in an experiment on a lark, and because of an excess of skepticism. The experiment? “The Intimacy Acceleration,” an experiment designed to make its participants fall in love.

AMERICAN IDOL
Fox, 8:00 p.m. ET

Last night, the 12 male vocalists performed. Tonight, the 12 females on the other half of the contestant equation do the same thing.

QI
BBC America, 8:00 p.m. ET
SERIES PREMIERE:
Well, it’s a premiere on BBC America, and in the U.S., but this long-running quiz show from BBC2 is anything but new over there. But I’ve watched it while visiting London, and it’s a breezy delight. Stephen Fry hosts a rotating group of panelists who are tasked not with delivering the most accurate answer to his questions, necessarily, but the most interesting. (The title QI stands for “Quite Interesting.”) And tonight’s three back-to-back episodes all concern something connected to the letter J. Expect QI to be Jolly, not Jejune.

HOW TO GET AWAY WITH MURDER
ABC, 9:00 p.m. ET
SEASON FINALE:
ABC hands over two hours of prime time for this final episode of the season, which indeed promises to offer up some finality. Yet, at the same time, expect at least one cliffhanger mystery to tease viewers until next season, because it wouldn’t be an ABC Thursday drama without it.

PORTLANDIA
IFC, 10:00 p.m. ET

Tonight’s episode returns to the high-stress world of real estate, and finds issues with landlords, advertisements, escrow explanations, and “microhouses.” Even better, it features returning guest stars Steve Buscemi, who also directs the episode, and Anna Gunn from Breaking Bad.


http://www.tvworthwatching.com/

* * * *

TV Notes
Does 'Bosch' Offer Anything New for the Old Cop Show?
By Kevin Canfield, TVWorthWatching.com (Guest Contributor) - Feb. 26, 2015

Harry Bosch, the title character of the engaging new cop drama from Amazon, is a relentless lawman. So you’d think that his fellow members of the Los Angeles Police Department would have his back. But as it happens, he’s not what you’d call a universally beloved presence—in the words of one colleague, Bosch is “an insubordinate, arrogant, know-it-all loner, and all-around self-righteous” jerk.

Is it any wonder that he likes stiff drinks and sad old jazz records?

Bosch, starring the highly capable Titus Welliver (top and left, The Good Wife, Deadwood), is a portrait of an obsessed, socially stunted homicide detective, the sort of figure that isn’t exactly in short supply on TV these days (or in decades past, for that matter). But if the show shares its storytelling genes with any number of police procedurals, it’s no less compelling in its depiction of a flawed but fundamentally decent man trying to right wrongs on the squalid streets of a great American city.

Inspired by Michael Connelly’s bestselling novels and steered by a talented showrunner (Eric Overmyer, whose writing and producing credits include Treme, The Wire and Law & Order), Bosch is a classic crime-fiction hybrid, an attentive character study fused with an intricate mystery. At the same time, it possesses a quality that’s lacking in more than a few of its competitors: a solid, carefully deployed sense of humor, a crucial trait given the horrible crimes on which the story hinges. (At various points, Bosch is mocked for his colorless wardrobe, his archaic cell phone and the terrible movie inspired by a case he once cracked.) Sure, Bosch is somewhat clichéd—but find me a cop show that doesn’t rely on at least a few of the standard genre tropes.

A pair of overlapping plotlines emerge at the start of the show’s 10-episode debut season.

The first stems from the discovery of a skeleton on a hillside in Hollywood. To solve the case, Bosch and his partner, Detective Jerry Edgar (a charismatic Jamie Hector from The Wire), will have to identify the victim, find his old friends and untangle the roots of a profoundly warped family tree.

Meanwhile, beat cops have pulled over a window-washing van, inside of which is a corpse. The driver, who calls himself Raynard Waits (Jason Gedrick of Dexter and Murder One), is jailed, and before long, he starts suggesting that he was involved in several unsolved crimes. In between interrogations, Waits passes the time by reading the local papers. Lately, the press has been all over Bosch due to a court case in which he is the key player. To Waits, this is titillating information, and he soon becomes fixated on Bosch. His appalling attempts to foster a connection with the detective will fuel the action deep into the season.

Like Netflix, Amazon releases entire seasons of its series all at once. Bosch benefits from this strategy. The show hums along at a brisk pace, and its grip on the viewer tightens with each 45-minute episode. It’s thoroughly binge-able. But even as it gets its narrative hooks into you, the show’s greatest strengths stem from its finely wrought cast of characters. These include a no-nonsense lieutenant (Amy Aquino of ER) whose social life is full of surprises; an aspiring department chief (Lance Reddick of Fringe, right) with a Machiavellian worldview; a rookie officer (Annie Wersching of 24) whose penchant for firing her gun presents her peers with a series of ethical dilemmas; and a former FBI profiler (Sarah Clarke, also of 24) who was once married to Bosch, and still helps him out when he’s stymied by a particularly complex investigation.

Each is an interesting personality, but Welliver’s magnetic star turn is the show’s most important feature. Detective Hieronymus “Harry” Bosch shares a name with a 15th century Dutch painter whose canvases were often devoted to apocalyptic scenarios—a fact that feels increasingly relevant as we get a closer look at the nightmarish cases he’s tapped to solve. He’s a solitary guy, an outsider even within the clubby confines of the squad room. He frequently says the wrong thing in social settings, and he’s botched a series of romantic relationships. As TV cops go, Bosch isn’t the most original of characters. But in this skillfully produced series, he’s never less than magnetic and deeply human, and those are pretty hard qualities to come by.

Kevin Canfield is a regular contributor to the San Francisco Chronicle, Film Comment and other publications. He lives in New York City.

http://www.tvworthwatching.com/BlogP...px?postId=9079
dad1153 is offline  
post #100120 of 100136 Old Today, 06:51 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
TV Review
'House of Cards' Season 3
By Tim Goodman, The Hollywood Reporter's 'Live Feed' Blog - Feb. 26, 2015

Now in its third season, House of Cards has one of those problems that soap operas bump up against all the time: story fatigue.

You can only ask your audience to buy into the political shenanigans of Francis Underwood (Kevin Spacey) and wife Claire (Robin Wright) for so long, given the Gumbyesque contortions that the series uses to entertain. That manipulation often comes at the expense of believability — because House of Cards refuses to restrain itself and often goes, in a parlance that Francis would approve of, balls out in an effort to make the Underwoods ridiculously ruthless and the series ridiculously entertaining. Unfortunately, after holding out against the cruel intrusion of reality, at some point in season two of House of Cards, ridiculous was the key word for pretty much everything in it.

That wouldn't be much of a problem if House of Cards was, like a true soap opera, keenly aware of its reputation (like, say, Scandal). Meaning, if House of Cards really believed that its ridiculousness was a wink-wink at the audience, its diversions from believability wouldn't be so troubling. Instead, House of Cards has been the poster series for both the popularity of Netflix as a streaming service with strong original content and as a big player for the service at awards shows. It takes itself very seriously.

In that role, House of Cards is often touted as a prestige drama a la Breaking Bad, Mad Men and The Americans, among others. But if season two proved anything, with its collapsing parade of paper tigers standing up to Frank's quest for ultimate power, it's that the series is far more entertaining than it is great. Power wielded by a ruthless married couple as they sack Washington D.C. is a pretty fun thing to behold, soapy as it is racing toward the assured victory, the stakes-free gamble.

There just wasn't much gravitas in the midst of it as the bubbles got in your eyes.

I'm certainly fine with House of Cards being that show. If you buy into it as a sweet, sparkling wine to be guzzled without care as you binge your way through it, that seems very apropos of what you're getting. The danger is confusing it with actual Champagne.

It's not that.

Awards shows are still making this qualitatively dubious connection (as they've done to an even worse degree with another soap opera, Downton Abbey). I worry that the creative forces behind House of Cards will blindly accept the accolades and not address the more glaring issues critics (and fans) began harping on in season two. Early episodes of the third season of House of Cards indicate a change of direction might be afoot, though plenty of worry remains that this will be only temporary and the Underwoods will continue to fool and rule the world with the ease of master puppeteers as the season goes forward.

But at least in the early going, creator Beau Willimon and the many executive producers with a hand in this series seem to agree that maybe the Underwoods, now known as the President and First Lady of the United States, need to hit some road blocks that they can't immediately get around.

A series like House of Cards has a lot of twists to be spoiled, but there's no point in doing that here — a good soap keeps the twists coming and that's what the audience wants. But at least in dealing with the basic moving parts of the series, it's safe to say being President and First Lady isn't as easy or as satisfying as Frank and Claire expected. Both want more. Frank wants, naturally, to avoid being a placeholder president and focus on getting reelected. But everything he's tried in office — and most of it has been ambitious — has eroded his approval ratings. Times are tough. He's not being very effective and Democrats are dubious as to whether he's the face of the future, especially as the Republicans are lining up in solidarity behind Hector Mendoza (Benito Martinez).

For her part, Claire — in a storyline that harkens back to the Clinton years — isn't satisfied just being First Lady. She wants to lead and do something. She wants to be political because that's what's in her blood. And in a lovely reflection of their odd relationship, Claire has no qualms in telling Frank that if he's going down in the next election, she plans to ascend at the same time. Power and politics — these two understand it, even if it means telling the other that you'll carry on if they fall.

After all the cream-puff politicians and supposedly brilliant strategists that the Underwoods have fooled all too easily in the first two seasons, a little payback and a little failure plays well for House of Cards.

However, the worry remains that now that they have the ultimate seats in politics, Frank and Claire won't go down without swinging and, in true House of Cards fashion, will hit and destroy everything they swing at. If that unbelievable sense of dramatic stakes returns, House of Cards will find itself in a scandal about how good it really is.

House of Cards
Air date: All episodes streaming on Netflix starting on Feb. 27
The Bottom Line: The lack of believability and realism in the second season is at least being addressed early on, but the worry about the series is that Frank and Claire Underwood have no real challengers in their quest for power. And if that remains the case, all the soapy bubbles will start bursting for this series.


http://www.hollywoodreporter.com/rev...-review-775215
dad1153 is offline  
post #100121 of 100136 Old Today, 06:55 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
TV Review
‘Sex Box,’ how not to spice up a night
On this WE tv reality show, couples go into a big box to get it on
By Tom Conroy, Media Life Magazine

Couples in marriages or long-term relationships have diverse problems with their sex lives, but the bottom line often is that no matter how hot they start off, sex gets repetitive.

We’s new sex-therapy show “Sex Box” has a kinky premise, but repetition wears it down. The show becomes monotonous, leaving our minds to wander freely until they reach the conclusion that the process is rather pointless.

Some frank discussion about the couples’ underlying relationships redeems the hour somewhat, but not enough to make us eager for a second go-round.

Premiering this Friday, Feb. 27, at 9 p.m., “Sex Box” is in many ways indistinguishable from a typical panel-of-experts shows. In the course of the hour, three couples come into a studio and discuss their sex problems with three therapists in front of an enthusiastic audience.

The difference is that in the middle of the interview, the couples go into what looks like a high-end storage pod on the stage and supposedly have sexual relations.

The show is based on a British show of the same name, providing more evidence for the debate over which country’s popular culture is going into the gutter the fastest.

At the beginning of the show, one of the panelists, a tattooed clinical psychologist named Dr. Chris Donaghue, explains that “after sex, the oxytocin’s at its highest, so you’re going to feel the most open and honest.”

He repeats this factoid, basically verbatim, three more times.

The first couple in the premiere episode are Elle and Brandon, who have been married for less than a year but say that the sex in their marriage is sparse and unsatisfying. Usually he has an orgasm and she doesn’t.

Dr. Chris and his co-panelists, a Beverly Hills therapist named Dr. Fran Walfish and a pastor and couples therapist named Dr. Yvonne Capeheart, become indignant when Elle says that Brandon tends to deflect her complaints by joking. They don’t let him get away with it on camera.

For some reason, when Dr. Chris asks the couple whether they want to go in the sex box (after giving the oxytocin speech), the show makes it seem that they haven’t already agreed to do so. Their decision is delayed until after a commercial break. All three couples in the premiere episode say yes.

An off-screen narrator says, “They will have to think outside the box while they’re in the box.” While the couple presumably goes at it, the panelists talk amongst themselves.

A “bad-dum” sound effect signals when Brandon and Elle are exiting the box–” although viewers will be forgiven for assuming it signals when one of them has, er, finished. In each case, we learn exactly how many minutes they were inside.

They come out wearing outfits that we’ve been told come from a “selection of intimate apparel in the room.”

The panelists ask Brandon to rate how well he pleased Elle on a scale of 1 to 10. He writes 8.8. Incredibly, the show makes us wait through another commercial break before revealing her rating of how he did.

She tells the panelists–and the world–” that she chose the positions and the “angle,” and we learn who finished first. The latter reveal gets a big round of applause from the audience.

The second couple, Rebecca and Dyson, have been together for 19 years and are extremely adventurous. She says they’ve had “threesomes, foursomes, moresomes . . .”

Dyson wants another woman to move in with them, even though they have a child. Dr. Fran, who talks a lot about body language, says that Rebecca is visibly more nervous about this–and about sharing Dyson in general– than she’s letting on.

After the sex box, Dyson overshares that he was more giving than usual, although this problem wasn’t mentioned beforehand. Perhaps because of all that oxytocin, he lets the experts browbeat him into a temporary compromise.

The third couple, Alexia and Christopher, say they had a wild sex life until the birth of their first child. He says they were even intimate–€” the terms he uses are cruder–when she was having contractions in the maternity ward. Now she never initiates sex and doesn’t like him touching her in certain areas.

The box–” or the oxytocin– works its magic again. After the postmortem with the experts, Alexia and Christopher say they’re back on track.

Except, perhaps, for the moresome couple, the participants have problems that most people can relate to, and the experts’ advice is generally sensible and sometimes insightful. But oxytocin skeptics will probably find themselves thinking that the show could have skipped the box entirely.

Although three marriage makeovers would seem to be enough to fill an hour, the show also features couple-in-the-street interviews by a young woman named Danielle Stewart. The words that get past the censors are sometimes so graphic that one wonders what they’re bleeping out.

The three couples will have to live with the snickers of their friends, acquaintances and family members. At least they probably get to keep their post-box intimate apparel.

It’s hard to imagine anyone else would want to wear it.

http://www.medialifemagazine.com/sex...ce-up-a-night/
dad1153 is offline  
post #100122 of 100136 Old Today, 11:00 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
WEDNESDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insights' Blog.
dad1153 is offline  
post #100123 of 100136 Old Today, 11:07 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
Washington Notes
FCC approves new net neutrality rules
By Roger Yu and Mike Snider, USA Today - Feb. 26, 2015

The Federal Communications Commission voted Thursday to implement new net neutrality rules designed to make sure Internet service providers treat all legal content equally.

The historic vote on the proposal by FCC chairman Tom Wheeler elicited hearty cheers from a wide array of technology companies and consumer groups while setting the table for further legal challenges from Internet service providers. The controversial proceedings that led up to the vote generated heated lobbying in Washington, D.C., and public clamor on social media, all in efforts to steer the future direction of the rules that guide Internet traffic.

"No one...should control free and open access to the Internet," Wheeler said to an applause from the standing room-only crowd gathered before the FCC panel. "It's the most powerful and pervasive platform on the planet. The Internet is too important to allow broadband providers to make the rules."

Net neutrality, also called open Internet, is a principle that Internet networks are equally available to all types of legal content generators. Internet service providers (ISPs), mostly large cable or telephone companies, would be prohibited from discriminating against content by slowing transmission speeds or seeking payments in exchange for faster lanes of their Internet networks, a practice called "paid prioritization."

Implementing the principle at a time when Internet streaming technology is changing so rapidly proved challenging to Wheeler as he sought to balance the varying interests of influential content streamers, like Netflix, and large ISPs that have spent millions to fight the effort. The FCC was besieged with passionate comments from both sides of the debate, receiving about 4 million comments, a record. In the end, Wheeler, with a nudge from President Obama, delivered on his proposals, though not without a fight from his colleagues and Republican lawmakers who wanted to delay the vote.

Wheeler's proposal reclassifies ISPs as public utilities, like phone companies, that are subject to a set of regulations that ensure all consumers get fair access to their services. ISPs would be banned from paid prioritization deals, though they can set aside fast lanes for some exceptions, including public services, like remote heart monitoring.

The authority for the new rules comes from Title II of the Communications Act of 1934. The new rules also call for the regulators to "forbear" – or refrain — from some provisions of Title II, including pricing regulation and other parts that are less relevant to broadband services.

The regulations will be published in the Federal Register in a few weeks. They become effective 30 days after publication.

Pro-business advocates and ISPs, including wireless carriers, have denounced Wheeler's approach. The proposal's insistence on laying out the do's and don'ts of operating Internet networks would inhibit ISPs from introducing new services – say, connected refrigerators and smartphone-controlled windows and doors – and limit innovations in improving their networks, they say.

"What doesn't make sense, and has never made sense, is to take a regulatory framework developed for Ma Bell in the 1930s and make her great grandchildren, with technologies and options undreamed of eighty years ago, live under it," said Jim Cicconi, AT&T's senior executive vice president - external and legislative affairs, in a statement.

The five-member commission voted 3 to 2 to approve the proposal, as expected. Joining Wheeler in voting for his plan were Commissioners Mignon Clyburn and Jessica Rosenworcel. Commissioners Ajit Pai and Michael O'Rielly, the two Republicans on the commission, voted against it.

"We cannot have a two-tiered Internet with fast lanes that speed the traffic of the privileged and leave the rest of us lagging behind," Rosenworcel. "We cannot have gatekeepers who tell us what we can and cannot do and where we can and cannot go online."

The outcome is hardly surprising as all five commissioners had telegraphed their stances since Wheeler revealed the summary of his proposal earlier this month. President Obama came out strongly in support of the Title II option late last year.

Opponents sought to delay the vote until, citing a lack of transparency. On Monday, Pai and O'Rielly issued a joint statement criticizing Wheeler's refusal to reveal the entire 332-page plan and called for "the FCC leadership…to allow the American people a reasonable period of not less than 30 days to carefully study it" before the vote. The chairman made public only a summary before the vote.

O'Rielly reiterated his concern that Obama had inserted himself into the process. "I am just sick about what Chairman Wheeler was forced to go through during this process," O'Rielly said in a statement. "It was disgraceful to have the Administration overtake the Commission's rulemaking process and dictate an outcome for pure political purposes."

Several Republicans -- Reps Greg Walden, R-Ore. and Fred Upton, R-Mich., and Sen. John Thune, R-S.D. -- helped create draft legislation in an effort to overrule the FCC's plans. Their legislation would ban paid prioritization but falls short of reclassifying the Net as a utility.

"We will continue to seek a consensus solution, and hopefully bipartisan legislation, Cicconi said.

The FCC approved net neutrality rules since 2008. But Wheeler, a former tech industry executive and industry lobbyist, was forced to come up with a new proposal when the U.S. Court of Appeals for the District of Columbia in early 2013 tossed out the earlier rules.

Anticipating Wheeler's proposals, ISPs have started to threaten lawsuits. "Instead of a clear set of rules moving forward, with a broad set of agreement behind them, we once again face the uncertainty of litigation," Cicconi said.

Some the key details of the proposal are still unclear. The FCC would have authority to enforce any "interconnection" agreements -- deals struck between ISPs and content providers to transmit data more efficiently in the "back-end" of the Internet networks – that are "not just and reasonable."

But whether Netflix can continue to pay some ISPs to locate its servers closer to their networks' key distribution points to stream its movies without too much lag -- as it does now -- remains unclear.

In a lengthy speech before the crowd, Pai also questioned the FCC's ability to continue to refrain from the "forbearance" promises it made. The FCC also has agreed to not impose further tariffs or require ISPs to unbundle some services or file a burdensome amount of documents. But "the plan repeatedly states that it is only forbearing 'at this time,'" Pai said. "For other rules, the FCC will refrain 'for now.'"

http://www.usatoday.com/story/money/...ules/24053057/

Last edited by dad1153; Today at 11:22 AM.
dad1153 is offline  
post #100124 of 100136 Old Today, 11:17 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
TV Notes/Q&A
Kobe Bryant opens up about life, basketball
By Rick Bentley, Fresno Bee - Feb. 25, 2015

LOS ANGELES — The Showtime documentary "Kobe Bryant's Muse" looks at the 18-year NBA veteran as he tries to cement his basketball legacy - an effort that has been slowed by a shoulder injury that ended his 2014-15 season with the Los Angeles Lakers.

Before this ill-fated season started, Bryant talked about the film and what he hopes fans will get out of the production, which is directed by Gotham Chopra and airs Feb. 28 on Showtime.

Question: It's unusual for the subject of a documentary also be one of the producers. Does this make the film an authorized biography?
Answer:
Me, as producer, is only in title alone. Honestly, I'm not even quite sure what producer even means, what they do, to be honest with you. I kind of turn it over to Gotham and let him shoot. And kind of the overall vision of the story is to be able to follow the journey of the injury, the inner struggle, the inspiration that comes from that. How do you battle through that.

Q. So, you didn't censor anything?
A.
I think it's important to be completely transparent about it. I mean, that's one of the reasons why I was off of social media for so long. And then, once I decided to join, I said you know what, if you're going to join, you might as well be transparent about it. And so maybe it's just me having basketball years and being equivalent to, like, 150 years old. I really couldn't care less what people say.

Q. Does this film mean you're going Hollywood?
A.
No. The reason why I felt like this film was fun to do is because, you know, a lot of other athletes, teammates included, and kids I did a Q&A at my basketball academy with the parents at the academy. The questions that kept coming up were all about motivating their kids, reaching their kids. I felt like the film was fun to do because it could help. Maybe it could help somebody in whatever area that they're focused on. Maybe it won't. I don't know. I'll just share my story about it, and we'll just kind of go from there.

Q. Was it tough having cameras around all the time?
A.
It took a little getting used to to having a camera around. So a lot of times, I'll show up to work out or be in a meeting or something like that, and Gotham will be there with the camera and I'll just say what the hell are you doing? Oh, yeah, that's right. We're doing this project together. But it was just really weird to have that kind of access.

Q. Who was your earliest muse?
A.
My family was always very supportive in terms of "You can accomplish" "you can be whatever it is you want to be." And there was a defining conversation I actually had with my father when I was around 11 years old. I used to play in the league in Philadelphia called the Future League, the Sonny Hill Future League. And my father and my uncle were all legends in Philadelphia. So now I'm playing in the same league. For an entire summer I scored zero points. Zero. Not a free throw, not a technical. And the summer is over, and my father just comes up to me, and he goes, "You know, son, I'm going to love you whether you score 60 points or score zero." That's when I was like, "Damn. OK. But I'm not scoring zero anymore."

Q. How does it feel to achieve so many goals at such a young age?
A.
I was a little bit different than some of my peers or even predecessors like Tiger (Woods) or Michael (Jordan) who had challenges that they looked at as obstacles and checked the ball. Right? As a kid, for me, I never had that. What I focused on was I just loved playing. I mean, that's the honest-to-God truth. I just loved playing.

Q. How do you set goals now?
A.
I just do what I love to do. That's it. Simple as that. I just do what I love to do. I was really fortunate because I was born and I play basketball, and that's what I love to do.

Q. Is it tough knowing your years on the court may be winding down?
A.
The idea is how do you carry that forward. I think, looking at the past, at some of the athletes that have come before me, it's always been about looking at it as a chapter in their life and now that book's done and now you move on to something else or something new. And I struggle with that as well. But then I came to the realization that why does that book have to end? Why can't you carry it on?

"Kobe Bryant's Muse"
9 p.m. Eastern, Feb. 28, Showtime


http://www.fresnobee.com/2015/02/25/...bout-life.html
dad1153 is offline  
post #100125 of 100136 Old Today, 11:22 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
TV Notes
Nick Nolte Comedy Nears Series Order At Epix, Ushering In Scripted Originals
By Nellie Andreeva, Deadline.com - Feb. 26, 2015

Epix is about to become an original series player. I have learned that the premium TV network/VOD service, backed by Viacom, Lionsgate, and MGM, is in negotiations for a 10-episode straight-to-series order for Graves, a half-hour comedy starring Nick Nolte as a former President of the United States. The project, created, executive produced and to be directed by Joshua Michael Stern (Swing Vote) and executive produced by Oscar-winning producer Greg Shapiro (The Hurt Locker), hails from Lionsgate TV, the TV division of one of Epix’s co-owners. Written on spec by Stern who brought the Oscar-nominated actor aboard, it centers on former U.S. president Graves (Nolte) who has an epiphany, realizing that some of his policies have brought damage to the country. He embarks on a quest to right the wrongs while his wife is pursuing a career in politics.

Graves would mark the first series order for Epix, whose original offerings to date have consisted of documentaries as well as comedy and concert specials. (Its main business has been running an extensive roster of movie titles from the libraries of the 3 studios behind it.)

The series pickup, which I hear is pending, would support the November remarks by Viacom CEO Philippe Dauman that Epix “prepares to add high quality original programming produced by Paramount, Lionsgate and MGM beginning at the end of 2015.” As part of the service’s preparation for the foray into series, in January it brought in seasoned TV scripted executive Jocelyn Diaz as EVP Original Programming to oversee Epix’s drama and comedy series efforts.

This is not the first time Epix has ventured into original scripted programming under CEO Mark Greenberg. In February 2009, months before the network’s launch, Epix greenlighted a pilot for what was supposed to be the service’s first original series, Nashville drama Tough Trade, also from Lionsgate TV. Shortly after Epix’s launch in October 2009, it hired another veteran network development executive, Laverne McKinnon, as EVP original programming and development. Epix announced high profile projects with Oliver Stone and Larry Charles and put several miniseries in development, including Atlas Shrugged, while laying out an ambitions scripted plan. It included the launch of the channel’s first original scripted offering, likely a miniseries, in third-quarter 2010, followed by a rollout of a scripted program each quarter, alternating between minis and 13-episode series.

But by August 2011, Epix had pull the plug on its original scripted efforts, with Tough Trade not going beyond the pilot and McKinnon exiting. (Tough Trade lived on at Lionsgate TV, eventually spawning the studio’s ABC drama Nashville.)

However, reality was different back then. Epix was still a fledgeling service struggling to secure carriage on some of the biggest cable and satellite platforms.

Now Epix is an established, very profitable brand with wide distribution. For the most recent period, Lionsgate, which owns 31.2% of Epix, reported net profits increase of 56% to $33.6 million for the service on revenues of $101.1 million, +12.7%. The solid financial footing allows Epix to be more aggressive in the expensive area of premium scripted series.

Lionsgate TV has a history of helping upstart outlets get on the map with scripted series, including AMC with Mad Men, Showtime with Weeds, Netflix with Orange Is The New Black and WGN America with Manhattan.

Oscar nominee Nolte recently co-starred on the Fox limited series Gracepoint and previously starred on the HBO drama Luck, from Michael Mann and David Milch.

http://deadline.com/2015/02/nick-nol...ls-1201381812/
dad1153 is offline  
post #100126 of 100136 Old Today, 11:27 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
Nielsen Overnights (18-59)
Yes, ‘Empire’ hits yet another series high
Posts a 5.3 in 18-49s, best for any broadcast drama in five years
By Toni Fitzgerald, Media Life Magazine - Feb. 26, 2015

Fox has to be regretting that it ordered only 12 episodes of “Empire,” because the impressive drama is still growing eight episodes into its run.

It hit another series high last night, posting a 5.3 adults 18-49 rating, according to Nielsen overnights, up a tenth from last week.

“Empire” became the highest-rated regularly scheduled drama on broadcast since a September 2010 episode of “Grey’s Anatomy.”

It has increased 39 percent since its premiere, growing more than any other broadcast drama since “House” in 2004, though that show was helped immensely by being moved behind “American Idol” at midseason.

“Empire” also posted another series high in total viewers, 13.8 million, up from 13 million last week.

Elsewhere last night, ABC’s 9 p.m. comedies grew despite the stiff competition, with “Modern Family” up 10 percent, to a 3.4 in 18-49s, and “black-ish” up 5 percent, to a 2.3.

At 8:30, “The Goldbergs” also increased, rising 14 percent to a 2.5.

NBC’s “The Mysteries of Laura” shot up 27 percent from last week, to a 1.4. The network’s regular coverage was preempted for a basketball game in Portland, which may have impacted ratings.

And the season premiere of CBS’s “Survivor” saw mixed results. It was the lowest premiere in the franchise’s 30 seasons among adults 18-49, posting a 2.3. But with total viewers, it averaged 9.88 million and was the show’s biggest debut audience since September 2012.

At 9:30, the season premiere of “The Amazing Race” posted a 1.5 in the demo, up substantially from a 1.1 for last fall’s bow. But that aired on a Friday night, whereas this premiere got a special one-night reprieve, airing on Wednesday.

Fox was first for the night among 18-49s with a 4.0 average overnight rating and a 12 share. ABC was second at 2.2/7, CBS third at 1.9/6, NBC fourth at 1.5/4, Univision fifth at 1.1/3, CW sixth at 0.8/2, and Telemundo seventh at 0.6/2.

As a reminder, all ratings are based on live-plus-same-day DVR playback, which includes shows replayed before 3 a.m. the night before. Seven-day DVR data won’t be available for several weeks. Forty-nine percent of Nielsen households have DVRs.

At 8 p.m. Fox led with a 2.6 for “Idol,” while CBS and ABC tied for second at 2.3, CBS for “Survivor” and ABC for “The Middle” (2.0) and “Goldbergs” (2.5). NBC was fourth with a 1.4 for “Laura,” Univision fifth with a 1.1 for “Mi Corazon es Tuyo,” CW sixth with a 1.0 for “Arrow,” and Telemundo seventh with a 0.6 for “Los Miserables.”

Fox grew its lead at 9 p.m. with a 5.3 for “Empire,” while ABC took sole possession of second place with a 2.8 for “Family” (3.4) and “black-ish” (2.3). CBS was third with a 1.9 for the end of “Survivor” (2.4) and start of “Race” (1.5), NBC fourth with a 1.6 for “Law & Order: Special Victims Unit,” Univision fifth with a 1.1 for “Hasta el Fin del Mundo,” CW sixth with a 0.6 for “The 100,” and Telemundo seventh with a 0.5 for “Tierra de Reyes.”

At 10 p.m. CBS and NBC tied for first, each with a 1.5 rating, CBS for more “Race” and NBC for “Chicago P.D.” ABC was third with a 1.4 for ‘Nashville,” Univision fourth with a 1.0 for “Que te Perdone Dios” and Telemundo fifth with a 0.6 for “Dueños del Paraiso.”

Fox also led the night among households with a 7.0 average overnight rating and an 11 share. NBC was second at 4.9/8, CBS third at 4.6/8, ABC fourth at 4.2/7, Univision fifth at 1.5/2, CW sixth at 1.4/2, and Telemundo seventh at 0.8/1.

http://www.medialifemagazine.com/yes...r-series-high/

* * * *

TV/Nielsen Notes
For ABC, one smart Thursday play
Stacking the night with Shonda Rhimes dramas has lifted ratings
By Louisa Ada Seltzer, Media Life Magazine - Feb. 26, 2015

Turning an entire night over to one producer turned out to be a brilliant move by ABC.

The network’s “Shonda Thursdays,” featuring three shows from Shonda Rhimes, were one of this season’s great successes.

Now one of those programs, the drama “How to Get Away with Murder,” wraps up its first season tonight at 9 p.m. with a two-hour episode.

“Murder” is the No. 2 new show of the season, behind Fox juggernaut “Empire,” averaging a 3.0 adults 18-49 rating, according to Nielsen live-plus-same-day DVR playback numbers. Add in seven-day viewing and the rating soars to a 5.1, tied for sixth overall on broadcast.

The addition of “Murder” to ABC’s Thursday lineup helped push the network back up to first on a night it won regularly back when another Rhimes program, “Grey’s Anatomy,” was in its prime.

ABC finished first in 18-49s on all four Thursdays of the February sweep period, and it’s one of the few networks to see year-to-year gains on Thursday.

No doubt the lineup will return intact next year, with “Grey’s” at 8, “Scandal” at 9 and “Murder” at 10. But for the remainder of the season, ABC is trying out at new show at 10, “American Crime.”

It should do well with such a strong lead-in from “Scandal.”

It’s doubtful, however, that “Crime,” which is not produced by Rhimes, will fit in quite as snuggly as “Murder.”

http://www.medialifemagazine.com/for...thursday-play/
dad1153 is offline  
post #100127 of 100136 Old Today, 11:31 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
TV Notes
CNN Tests In-House Production For New Series ‘The Wonder List’
By Brian Steinberg, Variety.com - Feb. 26, 2015

CNN is turning to an interesting player in its ongoing effort to create original nonfiction series for primetime: itself.

When “The Wonder List,” anchored by Bill Weir, debuts this Sunday on the Time Warner-owned cable-network, the show won’t include a nod to an outside production company, as it does for such series as “Parts Unknown” featuring Anthony Bourdain or “The Hunt” with John Walsh. Weir’s program is produced inhouse.

As part of the proceedings, CNN viewers will be taken to remote locales like the Galapagos Islands or the Everglades to see what Weir described as “places that are precious in their current state” but face “forces of time or humanity coming down on them.” Filmmaker Philip Bloom joins Weir on his excursions.

What happens to India as the needs of a mammoth population surge? Who might be the last person to see a tiger in the wild? Can residents of a Greek isle who have a greater likelihood of living past 100 continue to do so as they are introduced to the trappings of modern civilization? Those are some the questions Weir believed will be answered by the program.

The show’s debut doesn’t mean CNN is looking to do more of its primetime series under its own aegis, said Jeff Zucker, president of CNN Worldwide, during a recent meeting with journalists. “If we have the right idea, and it makes more sense for us to do it inhouse, we’ll do it,” said Zucker, but there is no set strategy regarding the choice of producer for one of the network’s series.

Before joining CNN, Weir was a co-host of ABC’s “Nightline,” where he said a fast turnaround on stories was paramount. “Wonder List” gave him time to, well, have time, he said.

One of the topics “Wonder List” is likely to address is climate change, said Weir. The issue has proven polarizing in recent months. “The term is so loaded these days,” said Weir. Even though he sees “Wonder List” as “a hopeful series,” he acknowledges the show will feature some discussion about the effects of shifting consumption and geological patterns on Earth. “Yeah, it comes up. You can’t deny it.”

“The Wonder List” takes place over eight one-hour episodes, the first of which launches Sunday at 10 p.m.

http://variety.com/2015/tv/news/cnn-...st-1201442199/
dad1153 is offline  
post #100128 of 100136 Old Today, 11:34 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
TV Review
'Last Man on Earth' a standout among new sitcoms
By Rob Owen, Pittsburgh Post-Gazette - Feb. 26, 2015

It's hard to imagine Fox's funny, entertaining and pretty original "Last Man on Earth" becoming a hit, but the same could have at one time been said about "The Lego Movie" and the screen version of "21 Jump Street," so you never can tell. Writers Chris Miller and Phil Lord had a hand in all three, and it's fair to say if you liked their movies, you'll probably dig this new TV comedy, too.

Created and written by "Saturday Night Live" vet Will Forte -- and directed/executive produced by Mr. Miller and Mr. Lord -- "Last Man" stars Mr. Forte as the title character, who at the start appears to be the only person in 2020 to have survived a virus that wiped out the rest of humanity.

The first episode airing in Sunday night's back-to-back premieres tracks this last man (aka Phil Miller, a melding of the names of the show's executive producers) as he tries to find another living human, raids the world's museums and brings his booty back to a McMansion he squats in outside of Tucson, Ariz.

"I have news for you, Tom Hanks," he says while watching "Castaway." "I would never, ever talk to a volleyball."

But a few months later poor Phil is not only talking to a volleyball he has named Gary, but also he has created a whole bar full of "friends" made from other types of sports balls -- and he has memorized all their names.

In the early going, Phil is carefree as he goes bowling (using fish tanks as bowling pins), turns his home pool into a "toilet pool" and then basically devolves into a suicidal guy living in his own filth.

When he finally gets his wish and learns he's not the only human left alive, "Last Man" turns funnier and more purposeful as it explores domestic disharmony between a mismatched pair.

It's wise for Fox to debut "Last Man" with two episodes. The first half-hour is all setup, and while entertaining in its own way, with just one character, it's insular and unlike anything else on TV, which is always a tough sell for viewers conditioned to expect more of the same.

The second episode gives Phil a much-needed sparring partner, which is funnier than the gags during his solitary existence.

Creatively, there's no question "Last Man on Earth" is a winner, a unique comedy in a sea of sitcoms viewers have seen before. But being original is also risky. "Last Man" does not hew to the expected TV comedy rhythms. Whether viewers tune in and make it a "Lego Movie"-like unexpected hit or are scared off by Mr. Forte's unkempt beard remains to be seen.

'Last Man on Earth'
When: 9 and 9:30 p.m. Sunday on Fox.


http://www.post-gazette.com/ae/tv-ra...s/201502260071
dad1153 is offline  
post #100129 of 100136 Old Today, 11:43 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
TV Review
'Battle Creek’
By Melissa Maerz, EW.com - Feb. 25, 2015

CBS has billed Battle Creek as a new cop show “from Vince Gilligan, the creator of Breaking Bad.” That’s bound to raise expectations for the series, which follows the Battle Creek PD’s resident grump Russ (Dean Winters) and his too-good at-everything partner, Milt (Josh Duhamel), an FBI agent from Detroit who has moved in across the hall. Unfortunately, like Milt, it’s also too good to be true. Gilligan first developed the project for CBS in 2002 and hasn’t been involved in the day-to-day since then. Co-creator David Shore (House) does his best to reinvigorate the goodcop-bad-cop premise with dark humor, a few unexpected characters (Meredith Eaton is charming as a four-foot-tall forensics expert who has her equipment retrofitted for her height), and cases you won’t see on NCIS, such as the cartel that trades in maple syrup. (That episode features cook-lab POV shots that are either intentional callbacks to Breaking Bad or rip-offs of it.)

But whenever Battle Creek tries to upend cop-show tropes, it winds up reinforcing them. The pilot pokes fun at Russ’ instant, Sherlock Holmes-style analysis of the crime scene, only to prove him right in the end, and some of the hard-boiled dialogue could’ve been written by a fourth-grade Raymond Chandler. “I smell something funny, I don’t shrug and walk away,” Russ snarls. “I try to figure out who farted.” Questions raised about Milt’s past might soon complicate those clichés. (Is it a good-cop-bad-cop drama if Milt isn’t really good? Discuss.) Until then, though, it’s the same buddy-cop show that’s been airing for decades. In the aftermath of Breaking Bad, which revolutionized the crime drama, Battle Creek still feels today like a procedural from 2002.

'Battle Creek'
Sunday at 10 p.m. on CBS
Grade: C+


http://www.ew.com/article/2015/02/25...reek-ew-review
dad1153 is offline  
post #100130 of 100136 Old Today, 11:48 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
TV Notes
‘CSI’ Hopes to Shatter Guinness World Record Set by ‘Doctor Who’
By Travis Reilly, TheWrap.com - Feb. 26, 2015

CBS is putting “CSI: Crime Scene Investigation” into the record books.

Declaring March 4 “World CSI Day,” the network has embarked on a global effort to help its iconic procedural series break the Guinness World Record for “Largest Ever TV Drama Simulcast.”

CBS will simulcast the “CSI” episode “Kitty” in more than 150 countries at 4 p.m. ET. This will break the previous record set by the 50th anniversary episode of “Doctor Who,” which was simulcast in 98 countries in 2013.

The episode originally aired last April as a planted spinoff for the network’s upcoming computer-focused franchise “CSI: Cyber,” which debuts at 10 p.m. on Wednesday. Oscar winner Patricia Arquette stars on the new series, the fourth in the franchise. James Van Der Beek, Peter MacNicol, Shad Moss, Hayley Kiyoko and Charley Koontz co-star.

“’CSI’ blazed a trail when it introduced the world to ‘feature’ television with its unique storytelling and innovative production values,” Nina Tassler, Chairman, CBS Entertainment, said in a statement. “This groundbreaking show introduced the field of forensics into the cultural zeitgeist, and it’s a tribute to the vibrancy of the franchise that 15 years later, it can evolve yet again and dive into the cutting-edge field of cyber crime with ‘CSI: Cyber.'”

“When ‘CSI’ premiered, I had no idea it would become the sensational global franchise it is today,” Anthony Zuiker, creator of the ‘CSI’ franchise, said. “’CSI’ has taken on Las Vegas, Miami, New York and now, with ‘CSI: Cyber,’ we dive into the vast world of cyber crime, where we can instantly be connected to anyone, anywhere in the world at any time. I can’t think of a better way to kick off ‘CSI: Cyber’ and celebrate 15 years of international success than with a worldwide simulcast.”

To commemorate World CSI Day, the network has also commissioned exclusive art for each of the franchise’s series (“CSI,” “CSI: Miami,” “CSI: New York” and “CSI: Cyber”) and will unveil them on the shows’ social media accounts.

See some of the art below: [CLICK LINK]

http://www.thewrap.com/cbss-csi-hope...by-doctor-who/
dad1153 is offline  
post #100131 of 100136 Old Today, 11:52 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
Technology/Critic's Notes
The Surprising Reasons People Buy the PlayStation 4, Xbox One or Wii U
By Matt Peckham, TIME.com - Feb. 26, 2015

Infometrics guru Nielsen just published the results of an inquiry into why people are buying the latest game systems from Sony, Microsoft and Nintendo. The results are surprising in part.

Consider the following chart, which breaks the decision-making variables impacting each system into “factors” ranked by survey respondents:



The chart’s results are weirder than they appear at first. Take resolution, the number of horizontal by vertical lines output as video signal, and constitutive of the number of pixels onscreen. Several first-wave, multi-platform games ran at higher resolution on the PlayStation 4 than the Xbox One, owing, everyone in the media’s assumed based on anecdotal developer chitchat, to disparity between the two systems’ processing power.

The presumption is that slight visual differences shouldn’t matter, that you’re just being slavish to detail if you’re obsessed with subtle pixel differentiation. Yet there it is, the topmost reason for buyers of Sony’s console.

And what’s “Blu-ray Player” doing as PS4 factor number two? The Xbox One’s just as capable a Blu-ray system. Is this telling us something about a Microsoft messaging failure? Or wait—isn’t packaged media all but dead? Whether people are really watching scads of Blu-rays on their PS4s or this is just the psychological “want the option” factor is unclear.

“Game Library” is another head-scratcher. The Xbox One’s library is just as big and just as critically acclaimed as the PlayStation 4’s, while neither system offers native backward compatibility. Is this indication of a preference for the kinds of exclusives Sony’s system offers? And looking across the way at Nintendo, what’s the difference between “Game Library” (PS4) and “Exclusive Games/Content” (Wii U)?

I’m also a little confused about “Brand,” which tops the Xbox One’s factor column. Sony’s PlayStation-as-brand is, judging by platform sales across all systems, far better known than Microsoft’s Xbox—unless it’s more a Microsoft versus Sony (than PlayStation versus Xbox) thing.

And what does “Innovative Features” refer to? Xbox One Kinect, a peripheral the company yanked from the system before its first anniversary? SmartGlass integration? The bifurcated operating system (and Metro-styled interface)? Or the list of features the company wound up retracting in the wake of controversy over player privacy and digital rights management?

What this more likely confirms is that perception remains nine-tenths ownership.

http://time.com/3723953/console-buyers/
dad1153 is offline  
post #100132 of 100136 Old Today, 11:56 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 37,715
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 430 Post(s)
Liked: 248
TV Review
'Secrets and Lies’
By Brian Lowry, Variety.com - Feb. 26, 2015

Better than “Gracepoint” and not as compelling as “Broadchurch,” ABC’s “Secrets and Lies” is a solid, twisty version of the increasingly popular murdered-kid-sets-series-in-motion formula, with Ryan Phillippe as the seemingly ordinary family man who discovers the body and quickly becomes a target of police suspicion. Juliette Lewis lends additional star power to the proceedings as the detective working the case, but this is fairly familiar turf. Bringing viewers to the show will likely be a challenge for the network, but those who do sample the opening hours should be intrigued enough to want to see where the trail leads.

Adapted from an Australian series (joining NBC’s “The Slap” in that mini-wave), , the show features Phillippe as Ben Crawford, a house painter who stumbles upon the dead body of a neighbor boy during his morning jog. In his efforts to revive the kid, he leaves all kinds of prints and evidence on the body.

Yet what looks like an attempt to be a Good Samaritan is quickly turned into evidence by Lewis’ Det. Andrea Cornell, whose nosing around begins to unearth clues regarding Ben’s relationship with the dead boy’s family, as the investigation plays out fractured relationships and broken trust as details about the past emerge. There’s the little matter, for example, of just how well Ben is getting along with his wife (KaDee Strickland), as well as what his daughters are up to, and whether he might have a clandestine motive for wanting the boy out of the picture.

Written by Barbie Kligman and directed by Charles McDougall (both “Private Practice” alums), the two-hour premiere (a wise move in terms of planting the hook a little deeper) quickly sets up the story, with Ben’s plight exacerbated by the barking media jackals who surround his house and keep thrusting microphones under his nose. In that regard, “Secrets and Lies” exhibits a bit more savvy about the idea of being at the center of that type of storm — and how neighbors look at someone facing such suspicions — than do many of the programs that have dealt with similar themes.

Phillippe is quite good as the hounded Everyman, if perhaps a little too boyishly good-looking for those purposes. Nevertheless, the producers do manage to keep the audience off-balance with new revelations, with the 10-episode order providing additional incentive — in terms of the limited duration of the commitment — to see how it’s going to wind up.

Granted, the dead-kid thing is one of drama’s more emotionally manipulative plots, but it’s certainly effective as a means of luring folks into the tent — and providing a welcome respite from another show that started with an ill-fated child: “Resurrection.” After that, the storytelling challenge of maintaining this sort of delicate balancing act and bringing it to a satisfying resolution is formidable, yes, but at least it’s no secret.

'Secrets and Lies'
ABC, Sun. March 1, 9 p.m.


http://variety.com/2015/tv/reviews/t...es-1201439095/
dad1153 is offline  
post #100133 of 100136 Old Today, 12:09 PM
Advanced Member
 
MRinDenver's Avatar
 
Join Date: Oct 2001
Location: Wheat Ridge
Posts: 722
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 6 Post(s)
Liked: 14
New Info From President of Emotiva re XMC-1

Released yesterday, this sounds like good news:

Hi all,

March is going to be a big month for the XMC-1.

We’ll be releasing all of the versions of Dirac Live for Emotiva that you’ve been waiting for! We’ll be releasing the Mac version of Dirac Live LE for Emotiva. We will also release both the PC and Mac upgrade versions of Dirac Live Full for Emotiva. The Full version offers several cool new options for customizing your results, including support for third-party calibrated microphones, the ability to create your own custom Target Curves and the ability to adjust the Frequency Range skirts and Speaker Groups, Also, we're added more control over test signal levels - which may come in handy if your speakers aren’t all the same efficiency.

We’ll also be releasing firmware version 3.0 for the XMC-1. The new firmware upgrades the XMC-1 to handle 4k/60 video with OSD support. It also includes the ability to interact with REW (Room Equalization Wizard) – one of the more popular room measurement, analysis, and correction programs for "do it yourself" enthusiasts. You’ll be able to import correction filters created by REW directly into one of the XMC-1’s speaker presets, and export filter configurations from the XMC-1 as XML files which can be read and edited by REW. With this new upgrade, the XMC-1 now offers three powerful ways to get your system to sound just just the way you like it: powerful manual parametric equalization, premium Dirac Live automatic room correction, and REW’s advanced measurement and adjustment capabilities.

In addition to the new features mentioned above, in v3 firmware we're added some nice features such as OSD wide mode for easier viewing, selectable OSD highlight colors, enhanced mute timing, system improvements, and improved ARC/CEC capabilities. All in all. a very serious improvement in overall performance and capability. I also want to remind you that we’ve still got several more exciting features like the remote control app. for IOS, PC, and Android almost complete, along with several other goodies.

It should be noted that we are hard at work on a new upgraded HDMI board, and it will provide full HDMI 2.0 support with HDCP 2.2 compliance. Rest assured, it will be available well before any compliant source component hits the market! :P

We've had an amazingly successful roll out with the new XMC-1; it is continues to amaze new users. I love the phone calls we receive!! We've also got several professional reviews under way and we are looking forward to seeing them... although they will probably just reinforce what you already know. The XMC-1 resets the bar for audiophile preformance, multichannel preampfification, processing, and control.

Thank you all for your support! Happy listening!

Cheers,
Big Dan

Mike Rife

The easy confidence with which I know another man's religion is folly teaches me to suspect that my own is also. -- Mark Twain

MRinDenver is offline  
post #100134 of 100136 Old Today, 12:21 PM
AVS Club Gold
 
Keenan's Avatar
 
Join Date: Aug 2003
Location: Santa Rosa, CA
Posts: 28,836
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 652 Post(s)
Liked: 560
Quote:
Originally Posted by dad1153 View Post
Washington Notes
FCC approves new net neutrality rules
By Roger Yu and Mike Snider, USA Today - Feb. 26, 2015

Broadband providers all around the country are probably very displeased with Verizon right now.
Brian Conrad and Nayan like this.
Keenan is offline  
post #100135 of 100136 Old Today, 03:58 PM
AVS Special Member
 
veedon's Avatar
 
Join Date: Nov 2010
Location: Raleigh,NC
Posts: 1,019
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 317 Post(s)
Liked: 106
Quote:
Originally Posted by Keenan View Post
Broadband providers all around the country are probably very displeased with Verizon right now.
But what do the Arizona Llamas and Congressman Upton's famous niece think about all this?
mscottc and Nayan like this.
veedon is offline  
post #100136 of 100136 Unread Today, 11:23 PM
AVS Special Member
 
domino92024's Avatar
 
Join Date: Jan 2007
Posts: 3,512
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 62 Post(s)
Liked: 180
Quote:
Originally Posted by dad1153 View Post
TV Notes
On The Air Tonight
THURSDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

Lots of mistakes. The CBS portion was really bad (Odd Couple premiere? No VS Swimsuits?)
domino92024 is online now  
Sponsored Links
Advertisement
 
Reply HDTV Programming

Thread Tools
Show Printable Version Show Printable Version
Email this Page Email this Page


Forum Jump: 

Posting Rules  
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

BB code is On
Smilies are On
[IMG] code is On
HTML code is Off
Trackbacks are Off
Pingbacks are Off
Refbacks are Off